Portrait of Sigismund Christoph Von Herberstein Oil on Canvas XVIII C
Work title: Ritratto di Sigismund Christoph Von Herberstein
Subject: Portrait / Face
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Ritratto di Sigismund Christoph Von Herberstein
Oil on canvas. Early 18th century. The portrait of the gentleman, dressed in cassock, is inscribed in a frame painted with leaf motifs, which in the lower part also surround a Latin inscription that identifies the character. Born in Graz in 1644 to a noble family and died in Perugia in 1716, Sigismund Christoph Von Herberstein was bishop of Ljubljana. The painting, restored and relined, is presented in a period frame.
Product in good condition, with small signs of age.
frame Size (cm):
work dimensions (cm):
Time: XVIII Century - from 1701 to 1800
Subject: Portrait / Face
Artistic technique: PitturaLa pittura è l'arte che consiste nell'applicare dei pigmenti a un supporto come la carta, la tela, la seta, la ceramica, il legno, il vetro o un muro. Essendo i pigmenti essenzialmente solidi, è necessario utilizzare un legante, che li porti a uno stadio liquido, più fluido o più denso, e un collante, che permetta l'adesione duratura al supporto. Chi dipinge è detto pittore o pittrice. Il risultato è un'immagine che, a seconda delle intenzioni dell'autore, esprime la sua percezione del mondo o una libera associazione di forme o un qualsiasi altro significato, a seconda della sua creatività, del suo gusto estetico e di quello della società di cui fa parte.
Technical specification: Oil on canvasThe oil painting is a painting technique using powder pigments mixed with bases in inert and oils.
Oil painting on canvas. The scene proposes the adoration of Jesus Child, placed in the center at the top, by some great saints, first of all by Mother Mary who is in a contemplative attitude of the Son seated like Him on a cloud; further down from the left, Saint Veronica Giuliani can be recognized, with her heart in her hand, a young saint pierced through the heart by an arrow, a crowned saint with royal robes and the palm of martyrdom in her hand, which could be Santa Barbara, and finally Saint Lucia leading her eyes to a saucer. They are therefore all holy martyrs, who adore Christ in the glory of heaven. The painting, restored and relined, is presented in a gilded frame from the late 19th-early 20th century.
Oil on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor of the young Alexander, the future king then known as Alexander the Great: according to what Plutarch recounts in his “Parallel Lives”, the young Alexander was a brilliant pupil, so much so that he was also initiated into the most profound and esoteric Aristotelian doctrines, from which derives the aura of mystery and profound interiority that shines through in the work presented here. The painting has been restored and relined. It is presented in a stylish frame. The painting, restored
Oil on canvas. The composition is not a traditional still life because the fruit (grapes, pears and pomegranates) and the white bird are inserted in a large landscape, as its added elements in the foreground; Behind them a green countryside opens up, near a lake overlooked by a house; the stormy and windy sky heralds a storm. Restored and relined, the painting is presented in a period frame.
Oil on canvas. The composition is not a traditional still life because the fruit (grapes and apples) and the bird are inserted in a large landscape, as its added elements in the foreground; Behind them opens a verdant countryside with a village on the hill. Restored and relined, the painting is presented in a period frame.
Oil on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy background of a rocky wall, there are some ancient ruins, bases and fragments of columns with fallen damaged statues; on the right instead, against the background of a blue sky and gray from the clouds, the mountainous landscape opens onto a path, from which some figures emerge, a lively woman carrying a laundry basket and holding a child by the hand, a wanderer with his bundle of shoulders. It seems a metaphor between the past, now dead and dark, and the present, alive and lively. Restored and relined, the painting is presented in an early 20th century frame.
Oil on canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of numerous living figures: the shepherd's family sitting in the center, observing the companion who holds the child in her arms in swaddling clothes; all around, the animals, from the faithful shepherd dog to the beasts of the flock, sheep, goats and cows, also at rest. The great naturalism of the animal figures stands out, which refers as a pictorial modality to the works of the school of Philipp Peter Roos, known as Rosa da Tivoli (1657-1706), the German painter considered one of the best painter of animals active in Italy in the seventeenth century, characterized by the peculiar ability to evoke the fleece and the looks of animals. The work, restored and relined, is presented in a gilded style frame.
Oil painting on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.
Oil painting on canvas. North European school. The pleasant portrait of a young woman in an elegant evening dress embellished with a round of pearls around the neck, recalls the pictorial ways of Peter Lely (1618 -1680), the Dutch painter who devoted himself mainly to portraiture, becoming at the court of London and throughout the kingdom of England the successor, in the role of portraitist, of Antoon van Dyck. The painting, restored and relined, is presented in a period gilded frame.
Glimpse of the port with figures
Glimpse of the port with figures
Oil on canvas. Late 18th century. Great glimpse of a port, dominated by a tower close to which the shipyard is located; in the foreground, several figures of men and women intent on fishing on the pier. Fancy flags soar everywhere. The painting, restored and relined, is presented in a period frame. fantasy.
Oil on table. Flemish school. Undecrypted signature lower right. Set in the room of a rural house, the scene depicts a moment in the daily life of a peasant family: the father watches the pot over the fireplace, the mother sews, the girl plays on the floor with the dog; in the adjoining room a young woman is entering the trap door leading to the cellar, with a jug in her hand. The marked perspective of the room stands out, played through the beams and wooden planks of the ceiling; the details of the simple furniture are well defined. The canvas shows traces of restoration. It is presented in a gilded frame from the early 1900s.
Paper engravings. Five are from drawings by Giuseppe Zocchi (1711-1767) and the other five are from drawings by Jacopo Amigoni (1682-1752). They all depict episodes from the Old Testament, with different characters and episodes. Of Zocchi there are scenes from the life of Tobias, of Jephthah, of Moses (the burning bush), of Hagar and of Lot. Of Amigoni, scenes from the life of Jacob, of David with Abigail, of Abraham and two others of Moses (Moses saved from the waters and Moses defending the daughters of Jerus at the well). The German Joseph Wagner trained as a painter in Venice, in the workshop of the Rococo painter Jacopo Amigoni, who invited him to devote himself to copper burin engraving. In 1739 he founded the Wagnerian chalcography in Venice, which quickly became the most important print production center of the Serenissima; his workshop was very popular with many Venetian etchers (Volpato, Brustolon, Piranesi to name a few). In the prolific workshop, the most talented engravers active at the time were employed in the creation of hundreds of prints reproducing all kinds of the variegated eighteenth-century lagoon figurative culture, creating works of a high quality level, in which they immediately played a leading role the prints taken from prototypes of Amigoni, The revived scenes are of Rococo taste, set in landscapes dominated by a gentle nature and embellished by the presence of ancient ruins, and inserted in graceful rocaille frames. The engravings show slight gore of humidity. They are presented in contemporary gilded frames, with period glasses.
Oil on canvas. The scene depicts the beautiful maiden riding the bull that has kidnapped her, running through the clouds, surrounded by cherubs. The Greek myth tells us that Zeus noticed the beautiful princess with her handmaidens on the seashore, where Europa loved to bathe and pick flowers. Zeus immediately fell in love with her and, in order not to frighten the girls, he took the form of a white bull and started grazing on the grass. The maidens, seeing him calm, began to caress him and even Europa climbed on his back. Then the bull took a leap and began a long run, with a frightened Europa clinging tightly to him, all the way to the island of Crete, where the god revealed himself and celebrated his union with the girl. The work has a strong scenic impact, with highly animated figures and vivid colours, among which the red of the mantle with which the putti cover the flight stands out, a symbol of the love that drove Zeus to the act. Restored; the painting is presented in a revival frame.
An elegant porcelein centerpiece manufactured by Nanni Valentini in the late 1960s, with dark green decorations. Under the basement the manufacturer's trademark and a paper label are present. 'Arcore Ceramica' was founded in 1967 by Marco and Tina Terenzi, wife of the sculptor and ceramist Nanni Valentini. The object is coming from an important private collection in Milan.
Suitcase turntable, vinyl upholstery.
Metal "Amstel Beer" card holder.
Centerpiece in chromed metal.
Pocket emptier in plastic material.